Thamizh Songs in Carnatic Music—19
உன்னடியே கதியென்றடைந்தேன் --unnaDiyE gatiyenRaDaintEn
Composer: G. N. Balasubramaniam (GNB)
I surrender at your feet
Composition: unnaDiyE
gatiyenRaDaintEn
Composer: G. N. bAlasubramaNyam
mudrA: none
(signature):
rAgam: bahudAri (janyam of
harikAmbhoji, 28th mELam)
tALam: Adi
ArOhaNam: SG3M1PD2N2S
AvarOhaNam: SN2PM1G3S
பல்லவி:
உன்னடியே கதியென்றடைந்தேன் தாயே
உண்மை நீ அறியாயோ உலக நாயகியே
(உன்னடியே)
அனுபல்லவி:
பொன்னையும் புகழையும்
பூவையரையும் தேடி
சின்னத்தனம் அடைந்து நித்தமும்* மிக வாடி
(உன்னடியே)
* சித்தமும் (variant)
சரணம்:
முன்னமே உன்னிடம் சொல்லி
வைத்தேனே
என்னவந்தாலும் நின் பொன்னடி
மறவேனே
பன்னக பூஷணன் பரிவுடன் மருவும்
மின்னல் கொடியாளே இன்னல்கள் தீர்ப்பாயே
(உன்னடியே)
Lyrics in Roman script
Pallavi: unnaDiyE
gatiyenRaDaintEn tAyE
uNmai
nI aRiyAyO ulaga nAyakiyE
Anupallavi: ponnaiyum pughazhaiyum pUvaiyaraiyum tEDi
cinnattanam aDaintu nittamum* migha vADi
*
cittamum (variant)
CaraNam: munnamE unniDam
solli vaittEnE
ennavandAlum
nin ponnaDi maRavEnE
pannaga
bhUshaNan parivuDan maruvum
minnal
koDiyALE innalgaL tIrppAyE
Lyrics: Courtesy of Lakshman Ragde
Meaning:
Pallavi: I have sought refuge at your feet, Oh
mother! That is the truth and don’t you know that Oh, the mother of the world!
Anupallavi: I have been going after wealth (gold), fame,
and women so far. I have demeaned myself all these days. Now I regret all that.
CaraNam: I have confided in you long ago that whatever
happens I shall never forget your golden feet. The lord who wears the snake
around his neck is so fond of you, Oh, the slender-waisted one, please relieve
me of my miseries.
General
Comments:
The composer, also a musician of great
repute, has written about 250 songs in Telugu, Thamizh, and Sanskrit mostly in
praise of Devi. He was a Sri Vidya
Upasaka. This song is also a typical one in the sense that it expresses remorse
for one’s past behavior and seeks relief for the miseries (real or imagined)
experienced by the author. It is an atonement of sorts.
This is also typical of a composer who had
quite a prosperous career early to mid-life enjoying the material comforts. The
expression “ponnaiyum, pughazhaiyum pUvaiyaraiyum…” is just the recipe that is
attractive for men early in life but all the same loses its significance as one
gets older. That is the time when one understands the futility of the worldly
possessions and starts to make amends for the “errors” in earlier times.
The theme of the song is appropriate when one
considers it philosophically. It is natural for most people to aspire for
material possessions when young. After one gets a full measure of them the same
status does not offer any more allure. Thoughts turn to divinity and the
so-called after-life. Devotion takes the center stage. While many composers and
musicians (especially the cadre of the Trinity) of the past were immune to the
lure of wealth there were quite a few composers and musicians of the past (and
present) who indulged in seeking material comforts for a significant portion of
their lives. Obviously it is part of human nature (niti cAla sukhamE!--yes, money brings its own pleasures and
problems too!).
This song is simple in concept, crisp in
expression and conforms well to poetic grammar. The object of admiration and
worship, namely Devi, is described in simple terms, and the song invokes the
blessings of Devi.
Composer’s
Bio:
G. N. Balasubramanian (1910-1965), popularly
known as GNB, gained prominence in the
Carnatic music world when he was still young through a stroke of fate when he
was asked to substitute for a top artiste at the Kapaleeswarar temple in
Mylapore. He never looked back and his career was blazing after that maiden
venture.
GNB learned music from his father and Madurai
Subramanya Iyer. He also obtained a B.A (Hons) degree in English literature, a
rarity among musicians in the early 20th century. He had a majestic
and resonant voice. He was especially known for his brisk brigas and smooth
pleasing delivery. His style of madhyamakala delivery was what his fans enjoyed
most. He was in great demand in the concert circuit and traveled far and wide
in that quest.
GNB had a prosperous career (financially
speaking) and lived opulently. He had a heart to help struggling artistes. He was Principal of the Swati Tirunal College
of Music for a few years in Tiruvanantapuram. He was a great teacher and he had
several disciples who attained fame and fortune. The late T. R. Balu, S.
Kalyanaraman, and MLV were three of his illustrious disciples.
GNB also acted in several movies. Some of the
noteworthy ones are Sakuntalai (paired
with M. S. Subbulakshmi), Bhama Vijayam, and Sati Anasooya.
GNB is credited with inventing new ragas such
as Chandrahasita, Sivasakthi, and Amrutabehag. Some ragas which were known to
be the favorites of GNB are ThODi, KalyANi, KAmbhOji, and HindOLam. Some of the
classic songs popularized by him include Vasudevayani (kalyANi), Sadinchane
(Arabhi), HimagiritanayE (suddha danyAsi), Radha Sameta Krishna (Misra Yaman), and
Jayati Jayati Bharata mAtA (kamAs).
Some of GNB’s compositions that are ever
popular are: sadA pAlaya (mOhanam), ninnu pogaDa (kuntala varALi), and sAmagAna lOlE (hindOLam). Other Thamizh
compositions include: en manattAmarai
(rItigauLai), kanavilum kamala
(srirnajani), kavalaiyellAm
(sarasvati), pAda malirinaiyE
(bEgaDa), and porumai izhandEn
(simmEndra madhyamam).
References:
Some audio/video
links:
Listen to Sudha Ragunathan here
Listen to Sudha Ranjith here
Listen to BhushaNy KalyANrAman here
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